Film Review: Benedetta

Images courtesy of Hi Gloss Entertainment.

Have you ever thought to yourself “I want to watch a French film about a lesbian nun who has visions of Jesus fighting snakes like he’s Indiana Jones, oh, and also there’s fart jokes”, but then found yourself immediately disappointed because there aren’t any? Enter Benedetta, Paul Verhoeven’s subversive and controversial tour de force, offering all of the above and then some.

With screenings picketed by members of the Catholic Church crying blasphemy for its depictions of homosexuality within the church, and an outright ban in Singapore for those same themes, the hype around this in the arthouse and international film circuits was palpable. I distinctly remember thinking it was a fake trailer à la Tropic Thunder upon first seeing it play before a screening of Titane, up until Verhoeven’s name was revealed and I thought how funny it would’ve been if the trailer were prefaced with “from the director of Starship Troopers, Robocop and Showgirls”. That should give you a good idea of the kind of wild tonal shifts Benedetta is fond of, wielding a variety of genres with reckless abandon to extremely entertaining, if not quite as finely executed results.

While this all may sound like an attempt at orchestrating controversy for the sake of word-of-mouth, the film isn’t content with simply poking fun at religious institutes, having the guts to ponder the nature of The Bible and religion in a surprisingly nuanced light. Benedetta balances its sexuality and violence with explorations of what those who seek power will do to get it, and what those in power will do to keep the peace, all set against the backdrop of the black plague. It doesn’t spare the horrors of Old Testament thinking, nor does it insist that the mantra of enlightenment through suffering is all that they have to offer. With this many plates spinning, it’s astonishing to see so many of them pulled off with such confidence, though mileage may vary depending on your tolerance for the overly theatrical and potentially exploitative nature of the whole affair.

For just about anyone who finds themselves wanting a motion picture that dares to be this bold, dramatic, shocking and crude, I’d recommend it wholeheartedly. With great performances from Virginie Efira and Charlotte Rampling, a sprawling production design, shocking moments that beg to be talked about (but I have avoided because they need to be witnessed firsthand), and a healthy dose of cheese, Benedetta is another solid entry in Verhoeven’s wide catalogue, though those uninitiated on his work should still find plenty to enjoy. Oh yeah, and it’s based on a true story.

Benedetta is screening in Australian cinemas from Thursday 10th of February. For tickets and locations click here.